Treatment of pathos in Kundamala of Dinnaga ( दि ङ्ना ग )
When there is a conflict between duty and love, duty wins and there is bound to be pathos.
Kundamala based on the Uttarakanda of Valmiki Ramayana is no exception to this. The play embraces in six acts, with considerable alteration in the events of Rama's later life extending from the banishment of Sita to the final reunion.
Breaking the tradition of Sanskrit drama where so far the erotic sentiment or the heroic one formed the main, the dramatist has introduced a remarkable innovation in making the sentiment of pathos as the centre of attraction. As a calamitous end is alien to Indian dramaturgy or rather prohibited, the dramatist has turned a real tragedy into a real comedy of union not only in strict adherence to dramatic rules, but also in conformity with his desire to present it as a natural culmination of the prolonged sorrows of separated life described in the earlier acts.
The whole plot can be said to be a unithread texture namely separation of Rama and Sita and their union in the end. Signs of departure from the original and innovations are manifested in almost every act of the drama. The special feature of this play is the delicate handling of some of the finest human feelings and the still rarer power of expressing them in concise and sweet language.
The idea that coming events cast their shadows before, is exemplified distinctly at the starting of the play itself.After the benedictory verses to Lord Ganesha and Shiva, Sutradhara's utterance ' atikarunam vartate ' ( अति करुणं वर्तते ) drawing attention to the banishment of Sita lends a tragic turn to the atmosphere. The soliloquy of Lakshmana in deserting the innocent Sita, Sita's delight in the company of Ganges, cool breeze, the songs of swans and shade of the trees, in the light of coming events, when she will be completely abandoned in the jungles, lends a deep pathetic touch to the situation. The shocking news of exile is communicated to Sita by the dejected Lakshmana there and Sita, overpowered with deep grief and finding no other alternative, submits meekly to her lot. Rama's message to Sita that he is abandoning her for fear of public scandal and that he would not marry again gives her a relief. Yet the dramatist gives a humane touch to Sita's outbursts.
सीताया अपि नाम एवं संभाव्यत इति सर्वथा अलं महिलात्वे न किं नु खलु तस्यैव निरनु क्रोशस्य समान एव प्रसवः प्रेक्षि तव्य इति वचनीय कण्ट कोप हितं जीवितं परिरक्षामि I
The dramatist depicts a masterly stroke of pathos in the scene of Lakshmana leaving Sita in the desolate forest.
एते रुदन्ति हरिणा हरितं विमुच्य
हंसा श्च शोकविधुराः करुणं रुदन्ति I
नृत्तं त्यजन्ति शिखिनो पि विलोक्य देवीं
तिर्यग्ग तावर ममी न परं मनुष्याः I
Finding her in that pitiable plight, the great sage Valmiki takes her to his hermitage. On the way, Sita promises the Ganges a garland of Kumda flowers everyday for her safe delivery.
The interlude to the second act gives us information about the birth of Kusha and Lava and the performance of Ashvamedha sacrifice by Rama in Naimisharanya. Then follows a conversation between Vedavati and Sita in which the latter gives vent to her deep grief of separation from Rama. An opportune dramatist as he is, Dingnaga does not forget to depict the intensity of Sita's grief which remains undiluted even years after her exile. The reminiscences of pleasures enjoyed in Rama's company only add fuel to the fire of separation.
The third act brings the hero and heroine close. The significance of the title is explained through the events of this act where Rama, while loitering in melancholy mood with Lakshmana on the bank of the river Gomati, notices a garland of Kundaflowers which comes to the feet of Rama. Rama recognizes it as woven by Sita. What an artistic and sure means of recognition ! This element of relief and joy deepens into pathos when Rama throws away the garland lest it should be an offering to the gods.
यद्यपी यं अभिमता कुन्दमाला , तथापि देवतोपहार शंकया नोपभोगं उपनीयते I
What can be more pathetic than this ? He also discovers the foot -prints peculiar to Sita alone, on the sandy banks of the river. At the same time Sita, invisible to men by thr grace of Valmiki, is engaged in plucking flowers there. She gets a golden opportunity of knowing the heart of Rama lamenting bitterly for Sita.
पूर्वं वनवासः पश्चा ल्लङ्का ततः प्रवासो अयं
आसाद्य माम धन्यं दुःखाद् गता सीता I
The fourth act is also woven in pathos. sita comes to a step well in the forest. She has worn the shawl which had been presented to her by the sylvan deity Mayavati at Chitrakuta. Sita, though actually present there is not seen by Rama due to the boon granted by Valmiki.Rama sees, however, the reflection of Sita in water.His mental agony becomes unbearable and he faints.Sita embraces him to restore him back to his consciousness. Not finding her again, Rama swoons. Sita tries to fan him with the fringe of her shawl. He snatches away that shawl. He then throws off his own upper garment which Sita picks up. She finds that it is unscented and feels happy that Rama has not married again. In these small touches, the dramatist has idealised conjugal love through the purifying influence of sorrow. Even a long period of separation has not hindered in the least the spontaneous flow of love in their heart. The scene becomes pathetic when Rama is led to believe by the jester that the celestial nymph Tilottama has deluded him in the forest by imitating Sita's activities.What an elegant touch to Rama's feelings!
तृ षि तेन मया मोहात प्रसन्न सलिलाशया
अंजलिर्विहित:पातुं कान्तार मृग तृष्णिकाम I
The fifth act becomes more poignant when father and chidren not knowing each other meet. Lava and Kusha narrating the Ramayana upto the desertion of Sita deepens the tragic element already existing.The mental conflict of a father who has lost his children and the delicate emotions which torment him on seeing the children having resemblance to Sita, are well depicted, and add to the sentiment of pathos.
In the last act, Rama and Sita are united and the goal of the dramatist is attained.Valmiki's admonishing Sita and Sita's testifying her chastity form the climax.
Thus the plot, characterisation including Vidushaka who is just a companion to Rama than a jester and all events in some form or the other carry a vein of pathos in them.The dramatist has woven the unithread of pathos in such an artistic pattern, in sweet and simple language that it does not become monotonous and bore the reader but on the other hand enhances the inherent charm of the play.
